Usually reserved for thrillers, the ‘white border’ dividing photos design (See Heist, Triple Nine, Homefront, Red) a classic poster cliche. But as with many things Soderbergh, repurposing that cliche with a bit more care. For instance the borders here in some cases split a single image, rather than just lazily putting in on-set stills or head-shots of the movie stars (a major pet peeve of mine when it comes to poster design).
The black and white mix with sunset colours also really works, and is a stand out in a year of pink posters.
Further points for the side-mountain credit block to accomodate the race-car and drifting cash under the title.
Steven Soderbergh is back! The producer-director is ever threatening retirement, but never quite getting there. After a stint on TV, including directing two seasons of period medical drama The Knick and made for TV teleplay, Mosaic, and producing Red Oaks, Godless and The Girlfriend Experience, the itch to make another A-lister heist film must have proved too great a draw. And now we have this goofy, southern-fried hold up of a motor speedway with Channing Tatum, Adam Driver, Katherine Waterson, Riley Keough, and a thickly accented, cast-way against type, Daniel Craig. Also, Soderbergh has dusted off Hillary Swank (remember her?) and Katie Holmes (ditto) and offered them fresh opportunities, also against type.
Trying to reverse a family curse, brothers Jimmy and Clyde Logan set out to execute an elaborate robbery during the legendary Coca-Cola 600 race at Charlotte Motor Speedway.
Given the poster, the typesetting and the overall tone here, I expected this to be a period piece, something in the vein of Smokey and the Bandit. Nope! Logan Lucky is nothing if not contemporary, right up to when the aw-shucks computer expert brags about ‘knowing all the Twitters.”
As usual, Soderbergh bucks the trend of modern franchise building special-effects pieces, and goes right to the point of letting the acting, character-building rhythms, and snazzy filmmaking do the heavy lifting. I do not expect Logan Lucky to be high art, but I do expect it to be a highly entertaining throwback in the way that The Nice Guys was last year.
Written by Rebecca Blunt and directed by Steven Soderbergh, Logan Lucky hits theatres August 18th, 2017.
Film buff, composer, podcaster, and friend of the Cinecast, Jim Laczkowski continues his exploration of Steven Soderbergh’s prolific filmography from an earlier episode of the Director’s Club Podcast; which, not coincidentally, featured Andrew James. Focusing on many of Soderbergh’s film projects from The Limey onward, Jim invites both Kurt & Andrew into the mix to get down and dirty with Bubble, Contagion, Solaris, Ocean’s Twelve, The Good German, Haywire, The Informant! and more. From stunt cameos, to 1940s camera lenses, to mental health, to the art of the montage and atheism vs. belief. Yea, there is a lot of ground to cover.
We’re overshadowed this week by the landmark that is Film Junk’s 500th episode and we recognize that and love it! It’s a hell of an achievement and we’re so happy for the guys, our friends, that are the undisputed, longest running, movie podcast on the internet. Also one of our guys was on the show, so there’s that. With that out of the way, it’s old-school Cinecast time. Reviews, the requisite tangents and The Watch List. It feels good to free of constraints though we are low on snacks and alcohol. Suffice it to say, this is a much more laid back version of the Cinecast; i.e. our bread and butter, our roots. We talk at length about Jessica Chastain which stems from a spoiler discussion on the very solid, A Most Violent Year. The TV review gets its foothold back into The Cinecast with Steven Soderbergh’s “The Knick” and The Watch List covers Vietnam docs like you’ve never seen as well as the brilliance that is Mike Nichols and more Chastain. Like A Most Violent Year, we’re emboldened by our competition, encouraged by our friends and emboldened by our love of Cinema – even that which we are able to dig up in the barren multiplex landscape of January.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
Likely, landing in the medium that is best suited for his current working style, Steven Soderbergh’s TV series set in New York’s Knickerbocker hospital in the early 20th century. This is back when “Surgery wasn’t always science,” as the Godardian titles jump on the screen in the first promo. Tucked under the seat are several more. The series stars Clive Owen, is premiering on Cinemax and, if all these 15 second teasers are accurate, it looks to be rather bloody.
At the San Francisco International Film Festival, semi-retired (His HBO Liberace film is still in the queue) Steven Soderbergh gave a 35 minute talk to participants on his feelings on cinema, art, the business and all those things in between. The organizers politely asked nobody to record or repost this (although several were live tweeting the event) but as Soderbergh laments right in his talk, nobody can keep a secret any more. Perhaps the ‘don’t record this’ request by the powers that be was simply reverse psychology. Nevertheless, that the cat is now out of the bag, so have a listen.
“Whenever people start to get weepy about celluloid,” Soderbergh thinks of a quote he attributes to Orson Welles: “I don’t want to wait on the tool. I want the tool to wait on me.”
“The problem is that cinema, as I define it and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience.”
Quoting D. Rushkoff, “There’s no time between doing something and seeing the result and instead the results begin accumulating and influencing us before we’ve even completed an action. And there’s so much information coming at once – and from so many different sources- that there’s simply no way to trace the thought over time.”
“Psychologically, it’s more comforting to spend $60 million promoting a movie that costs 100, than it does to spend $60 million for a movie that costs 10.”
“If you’ve ever wondered why every poster and trailer and every TV spot looks exactly the same – it’s because of testing. It is because anything interesting scores poorly and gets kicked out.”
Where we offer you Row Three programming if we owned a Rep Cinema
New Millennial Infection
Contagion – 8:00pm The Bay – 10:00pm 28 Weeks Later – midnight
One primal fear which has replaced the threat of nuclear war (and possibly terrorism) as something to keep a person awake at night in this new century is the constant threat of would-be pandemics. We beat The Bubonic Plague in the late middle ages, Tuberculosis and Polio in the 19th century, Cholera and Spanish Flu in the 20th century, but new super-diseases constantly emerge in both reality and the public consciousness. Of course, this collection of previous centuries worth of viral outbreaks are orders of magnitude worse than the deaths caused by West Nile, H1N1 and SARS – particularly when you consider the proportion of the human population affected and that the number of people on earth was significantly smaller prior to the onset of the 20th century.
Prior to the late 1990s, there was no 24 hour news coverage or internet to feed the fear. Even in the 1970s the Mayor of fictional Amity Island in Jaws knew that the spread of fear (and panic) was always equal to or worse than the ‘Shark in the Water’. From the days of the Irwin Allen disaster movie, we’ve seen large scale panic in the face of big disasters, but there is something far more effective with the current crop of infection horror films. An aim for realism, body fluids and the medicine of desperation practiced to stay on top of something that is in most cases impossible to contain. Here are three films all from the last 5 years that, if you were to program them at a rep cinema triple bill, would do a fine job of creating an escalation of pure panic and brackish body fluids.
This is Soderbergh so I’m already sold on seeing this last picture of his (as I’m sure many among us are). As such, I haven’t actually bothered to watch the trailer embedded below but for those that are maybe on the fence, take a gander at Michael Douglas (Liberace) and Matt Damon (Scott Thorson) doing their “way too gay for Hollywood” thing under the direction of master film maker Steven Soderbergh. I’m sure it’s very sparkly!
If you’re not already subscribed to HBO, you might want to get on that soon as Behind the Candelabra airs Sunday, May 26th at 9pm.
Don’t want to download our two-part Soderbergh discussion in Mamo #291 and #292? We’ve stitched them both together, with exactly 35 seconds of additional content, for the all-in-one extravaganza. See Soderbergh the way he was meant to be seen! Mamo Roadshow!
Soderbergh continues – in part two of today’s multi-part examination of the director’s concluding career, we pick up at Out of Sight and watch the director become a filmmaking powerhouse unlike any in Hollywood, before ultimately deciding to abdicate his narrative throne… but not before leaving us with one last slice of pie: Side Effects.
To discuss a career too enormous for just one podcast episode, we take a page from Che’s book – or the book of Che, as written by Steven Soderbergh. In part one of today’s multi-part examination of Soderbergh’s concluding career, we look at the spiral into hell that greeted the indie director of Sex, Lies, and Videotape. It was all downhill from there, all right… until a tiny little 1996 masterpiece called Schizopolis.